Šarlo Akrobata(Charlot the Acrobat, a Serbo-Croatian version of Charlie Chaplin‘s name) were a seminal Yugoslavpost-punk band from Belgrade. Short-lived but extremely influential, being one of the most important acts of the Yugoslav new wave movement (Novi Talas). The power-trio left an indelible mark on the entire music scene, playing skeletal, energetic ska-core with a post-punk sound reminding of Gang of Four, XTC, The Stranglers, Public Image Limited and Frank Zappa!

If you want to know a little more about the rock development in Serbia and former Yugoslavia, pay a visit on our last entries, Katarina II and Discipline Kičme.

Let’s go to our artist:

The origin of the new wave scene in Serbia can be found in Belgrade late-70’s bands Zvuk Ulice, Limunovo Drvo and Hipnotisano Pile. These three featured the future members of milestone groups Idoli, Šarlo AkrobataandElektrični Orgazam.

Električni Orgazam

Guitarists Milan Mladenović and Dragomir Mihajlović performed hard rock for two years in Limunovo Drvo, before adopting the punk rock on the arrival of the bassist Dušan Kojić ‘Koja’ and drummer Ivan Vdović ‘VD’. After the departure of Mihajlović (who would play on Katarina II), they finally renamed to Šarlo Akrobata!

Over 1980-81,its first recordings were released on the compilation Paket Aranžman, today considered one of the most prominent Serbian/Yugoslav rock releases. After a second prize on Subotica Youth Fest and performance on Zagreb Bienalle, they recorded their only album, Bistriji Ili Tuplji Covek Biva Kad…(Brighter or Dumber a Man Gets When…) in April 1981, combining punkish energy with dissonant, avant-garde, and a daring approach both to the playing, recording and performance.

Milan, Koja & Ivan = Šarlo Akrobata

The band disbanded in the winter of 1981 after a tour in Poland; Milan Mladenovic started a successful and prolific group Ekatarina Velika, and Dusan Kojic formed the progressive punk act Discipline Kičme.The the alleged reason was different views on how to continue their musical expression; around 1982, the New Wave scenestarted to decline, asa large number of acts moved towards a more commercial sound.

During the 80’s, Đorđe Balašević, for instance, dominated the mainstream pop scene, but various other rock genres also emerged, such as Jakarta, Oktobar 1864, Beograd, La Strada, Zana and Rambo Amadeus, starting to develop and gain mainstream popularity, not only in Yoguslavia, but all around Eastern Europe!

Pekinška Patkathe, the first Orthodox punk rock band, 1978!

Let’s go to our album:

An unique punk record, full of furious guitar riffs, raw bass sound, and wild shouting! Lyrics are either nonsensical, randomly recited, either rebellious, a true example of a punk angst, either minimalistic representing an auditivegraffiti painting. (!)

This is a record full of studio tricks that are deconstructing a classical approach to the songwriting, gradually (or abruptly) adding/subtracting instrumental layers in the songs, repeating simple one-two-three-four chorus ad nauseam, making at mantra at first, and then deconstructing it by simply adding polyrhythmical pattern on bass, while drums get heavily processed with an echo effect and other modulations.

1981

Lastly, this record is a lot different from everything that we used to hear so far, avant punk are the perfect title to add to these crazy geniuses, forget about Ekatarina Velika (my personal favorite) and other Serbian entries, this is where it all began, observe closely and plunge forward into it, the one and only Šarlo Akrobata!

After the quintessential Belgrade new wave band of the early 80’s, Šarlo Akrobata, hit the rocks, the trio essentially splintered in two directions. Bass player Dušan Kojićwent on to form Disciplina Kičme, where he continued to experiment with various musical influences, while the more lyrical, poetic of the two, vocalist/guitar player Milan Mladenović, opted to form Katarina II. Named as such, the band which later reached starry (in local terms) heights under Ekatarina Velika moniker released only this album, which quickly became a cult favorite in old Yugoslavia.

The New Wave music scene emerged at the end of the 70’s, it was especially advocated by the music magazines Polet from Zagreb and Džuboks from Belgrade, and by the TV show Rokenroler, which was famous for its artistic musicvideos.

Ekatarina Velika(Catherine the Great, also called EKV) was a rock group from Belgrade, Serbia. During its existence, EKV built up a devoted following that greatly intensified and expanded after the death of its frontman Milan Mladenović in 1994, which caused the band to dissolve. The group’s core consisted of singer and guitarist Milan Mladenović, keyboardist Margita Stefanović and bassist Bojan Pečar.

Initially named Katarina II, was formed in February 1982 following the breakup of Šarlo Akrobata, Katarina II’s self-titled debut album finally came out in 1984.

Magazine Issue

After the release the group fell apart due to artistic differences, guitarist Gagi Mihajlovićclaimed rights to the Katarina II name, then, the remaining members settled on Ekatarina Velika. In 1985, EKV released their debut album, Ekatarina Velika, the Lp is characterized by an energetic sound and Milan’s hermetic, introspective, and metaphorical lyrics. The 1986 follow up album S Vetrom Uz Lice proved to be the breakthrough album that turned them into bona fidestars!

The hits included ‘Budi Sam Na Ulici’ and ‘Ti Si Sav Moj Bol’, in addition to wider mainstream acceptance, S Vetrom Uz Lice also got some lukewarm reviews from critics complaining it sounded too much like Simple Minds and The Mission (sic).

80’s Promo

In 1987 the band recorded and released Ljubav, it displayed a more guitar-oriented, polished sound, partly because of new producer Theodore Yanni. It also showed the first signs of Milan’s depressive lyrics, as exemplified by song ‘Tonemo’;the band confirmed their newfound star status with two consecutive sold out shows at Belgrade’s Hala Pionir sports arena. The 1989 album Samo Par Godina Za Nas wasn’t received well by the critics, though it does feature the song Par Godina Za Naswhich was voted the best (ex) Yugoslavian rock song in 2006 by serbian Radios!

In the 90’s the band released albums irregularly due to band changes and the political situation in Yugoslavia. Dum Dum (1991) and Neko Nas Posmatra (1993) were released but the band slowly fell apart. Milan Mladenović was diagnosed with pancreatic cancer in August and died on November 5, 1994 at the age of 36.

Margita Stefanović

Bassist Bojan Pečar died in London on October 13, 1998, aged 37, as a result of a heart attack. Early drummers Ivan ‘Vd’ Vdović passed away in 1992 and Dušan Dejanović died from AIDS on November 16, 2000. Keyboard player and vocalist Margita Stefanović died on September 18, 2002, drug abuse was rumored (never confirmed) to be the cause, she was 43 and the last of the original line up left. (RIP all of them)

Let’s go to our album:

The band had started recording of the album in Beograd but due to various problems it was finally recorded for the Slovenian label ZKP RTLJ(RTV Ljubljana). The album producer was Đorđe Petrović, and guest stars were Mario Čelik (congas) and Jurij Novoselić (saxophone) from the (famous) Croatian new wave band Film.

Initially pressed in mere 3,000 copies, Katarina II is a spirited debut effort, torn somewhere between the new wave aesthetic and polished rock sound which became the hallmark of Ekatarina Velika. Essentially, there are two main vibes to discern on this album, Milan Mladenović’s songs are more progressive in its approach, like ‘Jesen’, ‘Geto’ and ‘Aut’, contrasting with the songs written by Dragan Mihajlović, ‘Vrt’, ‘Platforme’ and‘Treba Da Se Čisti’, which retain the structure and faux-mysticism of the previous movement (Idoli and Šarlo Akrobata).

Back Cover

Slotted in between is a beautiful little ballad ‘Kad Krenem Ka’, written and sang by Margita, as well as a cheery pop number ‘Radostan Dan’. Overall, it all makes for a well-rounded package, with a couple of classics (Geto and Jesen) and eclipsed influences such as Talking Heads. An absolutely essential listen, Sretan Put!

Sweden. Despite of being known worldwide by its pop mass bands such as ABBA, Roxette and Ace of Base, this scandinavian rich country saw the usual rock development throughout its 60’s and 70’s in a very special ways.

The so-called Progg scene, a left wing and anti-commercial heterogeneous movement that paved the path for bands who didn’t wanted to sign with major labels, intended their own distribution methods and organized numerous music festivals and forums along the country’s decade. This unique attitude, unthinkable in many countries that would still suffer with military coups or persecution, featured a broad spectrum of musical styles, such as pop, folk, psych and prog.

Artists like Bo Hansson, Mikael Ramel, Kebnekajse, Hoola Bandoola Band, Nationalteatern and Samla Mammas Manna vied for attention of anarchists, communists and socialists audiences in the very early of the 70’s. (!)

Steampacket

The movement was closely connected to similar fronts in arts, theatre, design, and to alternative life styles; most lyrics were in Swedish and had a strong criticism against the governing Social Democratic Party. There were also a movement in support of the National Front for the Liberation of Vietnam, for instance.

And the famous protests to stop tennis matches against tennis players from the Pinochet-ruled Chile in Båstad 1975. At the end of the decade, however, the movement started to decline, as many of the bands disintegrated and the music forumswere closed. The left wing ideals became less dominating among youngsters, and rock/folk were beingbeing replaced by hard rock and electronic music.

Steampacket, At Ease

On the other hand, since the end of the 90’s and the saturation from the vanguards of yore, many Progg bands have experienced some renaissance, reuniting for concerts, and new records/dvds. The film Together (2000), directed by Lukas Moodysson goes through that era, with a satirical view of socialist values, tied with a bittersweet comedy, it also offers some brilliant soundtrack, check it!

Let’s go to their history:

Mikael Ramel is the son of the legendary Povel Ramel, whose witty tunes from the 40’s and onwards have made him one of the Swedish national treasures, probably the greatest one! With influences from Beatles, Zappa & The Mothers of Invention, The Byrds, Buffalo Springfield and Dr. John, they recorded a single together in 1965 before Mikael formed Steampacket the same year.

Recording, 70’s

He played all the instruments himself on his first solo Ep, released in January 1967, special note to the track ‘Bara Ett Par Dar’. Ramel started working on his first solo album in 1969, painstakingly putting it together in his home studio, he wasn’t done until three years later. At the time of the release of Till Dej, Ramel was a also a member of Flasket Brinner, sweden’s prolific progg / jazz band!

Till Dej (1972) is a great effort of inventive and gracious Swedish-language folk-psychedelia. Extravagansa (1974) features more experimentation and was made by the same core musicians. 3:Dje Skivan (1977) is more polished but the experimenting is kept at bay. The album features the rhythm section of Kaj Söderström(bass, keyboards) and Hempo Hillden(drums). Both were members of Splash,the band plays on half of the tracks on Ramel’s last 70’s album, Rycker Dej i Svansen.

Mikael Ramel continues making music, although he’s a music therapist.

Portrait

Let’s go to our record:

A bit aside from the whole scène, Mikael stands out as one of the most famous and talented artists from Sweden, imagine yourself being a son from the greatest artist of its country, it shouldn’t be easy, but Mikael were not complexed with that, aside from early comparisons, he traced its own path andsound.His first two records got a straight folk-rock direction that was completely dissolved on this one, again this is a marvelous point outside the curve of someone’s career!

Mikael: ‘This Lp was made with two different bands. I came in contact with the group Splash from Söderhamn. I had heard them and liked very much for their experimental and crazy folkloric music. After a period of contact, we agreed on an exchange, I promised to record an Lp with them on my existing mobile studio, for letting me use them as musicians in the whole production. They were nine people in the band, it was one of life’s absolute peaks! Earnings eventually became the Splash(1978) Lp.’

Today

With a beautiful voice, tight band, arrangements and a fabulous mix of genres, the ‘IM’ highlights are: Förpackningar, a megaton reggae that could be perfectly played by The Wailers!. And Jag Rycker Dig I Svansen, a crazy disco-funk with some prog tinges that flourishes into guitar solos and latin percussion. Aside from these two, the album offers moments that will surely surprise you, this is also an exclusive rip!

Ha En Trevlig Resa!

Tracks Include:

A1 Mr. Stand-In

A2 Utflykt – A) Samling B) Karusellsväng C) På Väg

A3 Förpackningar

A4 Toner

B1 Jag Rycker Dej I Svansen

B2 Hon Och Han

B3 Jönsson Med Lien

B4 En Ton För Ett Don

B5 Mr. Byråkrat

B6 Djupt Till Roten

All songs and lyrics: Mikael Ramel

Mikael Ramel Band

1~5 recorded in May 1975 by Mikael Ramel Musikband and guest musicians.

Japan. Today, we’ve got a point outside the curve of someone’s discography, nothing less than Asakawa Maki (Maki Asakawa, January 27, 1942 – January 17, 2010) the major female precursor for folk, rock and pop audiences in the country. Her hoarse and deep voice, hypnotic eyes and persona, all black styleandthe (always) cigarette in tow, managed to capture national and foreign fame throughout an extensive famous career. Much based on folk-rock, blues and some jazz, these previous albums and characters will entry along our galaxy. A rare live presentation it is available (for now at least) and can be seen here, check it out!

Today we’ll start with a twist overview. Different from its first releases and acclaimed developments through the 70’s, Cat Nap has its unique blends from Jazz, Rock, Funk, Reggae, Ska, Post-Punk and Pop in a solid experience direct from the early 80’s. (!)

Promo 76′

Let’s go to their history:

Jazz and blues vocalist, lyricist, composer and orchestrator Maki Asakawa was born in 1942 in IshikawaPrefecture. After a short stint working at the town office in her small village, she headed for Tokyo to pursue music. She started by playing at U.S. military bases and cabarets, where she refined her style, which was largely informed by Billie Holiday and Mahalia Jackson. Asakawa released her first Ep, Tokyo Banka, on the Victor imprint in 1967. In 1968, Maki got her big break when she appeared for three days running at the Shinjuku underground theater known as Sasoriza, a project of underground playwright and controversial movie director Shuji Terayama. Shortly thereafter, she signed with Toshiba (currently EMI Music Japan), making her official major label debut in July 1969 single’s: Yo Ga Aketara / Kamome.

Since then, Maki Asakawa has consistenly released music and appeared live, garnering praise for her unique interpretation of jazz, blues and avant-garde, she has also collaborated with Yosuke Yamashita and Akira Sakata, and composer Ryuichi Sakamoto among many other legends!

Sadly, she died of acute heart failure in her hotel room in Nagoya on a Sunday night and later pronounced dead. She was 67. (RIP)

Years Active: 1967 ~ 2010

Live

Let’s go to our album:

At the time of its release (October 21, 1982), Cat Nap received this type of commentary from the japanese press:

‘A splendid work, with new horizons that Maki challenged, colored by improvisation, honed melody and stand out performance.’

Fact. Along with its trumpeter, composer and partner Toshinori Kondo, Maki sails free among a beautiful kaleidoscope of modern sound; once again (as JAGATARA), the 80’saesthetics that prevailed through, were as revolutionary as those from previous decades. This is a very uptempo one with incredible experimental moments.

The ‘IM’ highlights are for: Shinkyoku B, a monster groove-reggae with crazy harmonics, fuzz and sexy vocals from our bluesy queen. A perfect song for a tropical panorama, good energies, friends and a cold drink! And Machine(an instrumental one), probably the pinnacle of the album. With its own avant-garde atmosphere, mimicking the functioning of some real machine, speaking of a Pop artist, this is quite something! We got dissonant woodwinds, atonal guitar solos, multiple sound effects and a constant pace beat that last until the final second! Crazy, crazy, crazy. 良い旅!

JAGATARA (Jacatra, romanized), are an exclusive 80’s band from Japan, so they didn’t participate the 60/70’s avant rock scene as their eldest predecessors, like: Happy End, Sadistic Mika Band, Speed, Glue & Shinki, Haruomi Hosono, Jacks, Maki Asakawa and Yoshiko Sai. Thus, our usual background for japanese rock, early context and its characters stories will appear throughout our galaxy, not today! Further that, this is an odd kind of rock, especially for an oriental one.

Japanese rock are primarily founded on folk and blues, later, southern rock and psychedelia, all these wisdom, are set aside to give chance for a new wave aesthetics! Like all great band, they deserved a continuous rewriting and rediscovering of its sound, live performances and biography, all CD re-releases made by BMG Japan are quite new, ergo, all digital archives found on the net today. This fact, made them formerly unknown worldwide, also, the original Lp’s (released on a independent label) are rather expensive treasures in today’s heated market of vinyls. Hereupon, welcome to the outstanding world of JAGATARA!

Let’s go to their story:

Having on its key figure, your deceased singer, writer and composer, Edo Akemi(July 1, 1952 – January 27, 1990), JAGATARA, are an incredible mix of genres, backed on a punk rock basis (drums, bass, guitar). They moved away from the usual rock that was being made back then, to debut as one of the greatest bands from Japan, audience and commercially speaking. Edo’s performances are a separate chapter in their history, his visceral punkanima, shocked the public due to extreme acting, such as, constant injuries, bleed out, golden showers and live defecations! (!!)

But it’s the music power combo and its lyrics, their greatest development. Coming from a restless hyperactive frontman, themes like loneliness, madness, life in big city, drug abuse and satirical social issues were present throughout his short career.

Early Formation

Born in Nakamura, a Kochi prefecture, near Tokyo, Edo Masataka (birth name) was the fourth from a five sisters family. Since childhood, an intelligent, fastidious and sore loser used to play tricks with its friends and learned early to question authority. A famous episode, was a discussion with the priest from his Junior High School, he doubted and alleged some ‘big mistakes on the bible’, horrified the cleric expelled him from the church. That event was his christian withdraw!

During the period of 1971 until 1979, he entered at Meiji University, on Tokyo, to attend on Letters and History course, the fact that it took twice as long until his graduation, shows us a loosely mind not so fitted with the common and boring status quo. But it was there, that the embryo from JAGATARA would be formed, more precisely in his eight and last admission, on august 79, together with Ebby (guitar) and Pan (bass) they debuted on live stages.

Thenceforth, the band began his ascent to mainstream, their anarchist live performances on april 1980 at Shinkuku Theater called the national media attention: Akemi’s tearing up and eating in the raw a live chicken and a Shimahebi (sort of snake) (!!). The season concerts extends sold out throughout the year with dozens of publications from specialized magazines and even a Playboy famous interview.

Punk Samurai

An Ep (Last Tango in Joku) is released on april 1981, the live exposures continues. Due to mass media coverage plus high expectations from the audience (only) for Edo’s freak shows, with months, they realize the monster that they birth: a ZERO interest on their music! The band had become a fancy bourgeois product. Aware of it all, later that year, comes the shift that would transform the band’s whole proposal. Alongside with OTO‘s (guitar) entry, the pure punk sound is left a bit aside, gaining new colors with the funk and afrobeat. During september/october they began the production of their first full length album, that would took until april 1982.

With Nanban Torairelease, they consolidate their status as real musicians and composers, from that on, the band entered in another suicidal domestic tour, by the end of 1983, Edo was diagnosed with a harsh mental disorder. Hospitalized and later discharged with his parents in Shikoku, simultaneously on Tokyo, the Dark Continent Jacatra band, would see a two year hiatus (1983-85) caused too, by many quarrels among its members and multiple charges for drug possession.

A live release occurs in the interval and in 1986 the band returns with a new formation, on same basis, but more close to the big band formula: horn sections, keyboards, percussion and female choir dancers!

Final Formation

Until 1990, more than 6 albums hits nihonjin music charts, unfortunately in early January 90, Edo is found dead at his home, the mortis causa: accidental drowning while bathing. The astonishing news suddenly hits all band members, though he had offered to leave the band just before death, JAGATARA broke up instantly due to lack of its central figure. As if not enough on April 8, 1992, Pan dies of acute pneumonia, eight months later Shinoda (sax) passes by myocardial infarction (!).

Let’s go to our record:

Considered the 22nd greatest album by Rolling Stone 100 Japan, Nanban Torai(Barbarian Introduction) is a contagious mix. Ranging from divers personal genres, such as, F ran k zappa, southern rock, funk, afrobeat, reggae, punk rock and post punk. The album, released on may1982 for Dr. Records, an independent label, got an strange live feeling and it was an instant success on Japan, being aired on Tokyo Channel 12 and transmitted by NHK-FM.

For instance, during a live TV performance the vocalist from a punk band called Gism, entered underhand and had an aggressive struggle with Edo. That would cause one of the greatest disagreements, the band didn’t even tried to mend the fight, on the contrary, the song was played until the end, with both on the floor!

The ‘IM’ highlights for today will be straight: End of Season, an urban post punk, with lots of fuzz, dancing uptempo, singing way manifesto and dissonant ending. A direct shot! And Baby, simply the greatest groove so far, an homage to everything that jumps: soul, funk, disco, boogie. Nile Rodgers swing guitar feel, heavy solos and the greatest mantra chorus for your party time, please enjoy.

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Bhagavata Purana (9th / 10th Century)

"While Dhruva Maharaja was passing through space, he saw, in succession, all the planets of the solar system, and on the path he saw all the demigods in their vimanas showering flowers upon him like rain...
He traveled in that way through the various planets, as the air passes freely in every direction. Coursing through the air in that grand and splendid vimana, which could fly at will, he surpassed even the Devas."